Thursday, January 17, 2019

Toro y Moi Struts The Groovy "Freelance" Live On KCRW

Chaz Bear, aka Toro Y Moi, has been filling up our musical ear-ganders with his magical musique beats electrifying and shocking us right down to our souls! During the latter part of 2018 has found an impeccable nesting effortlessly shuffling onto music playlists right along with our other preferred dance picks of 2018.

 A genre in his own utopia, call it chillwave, call it disco-dance jazz or electronic house, his live performance of his single  "Freelance" is the first official tune from his upcoming 2019 record entitled "Outer Peace".

With our musical paws in the air awaiting in ecstatic and in anticipation, the following power of Toro y Moi is indefinitely groovy and entrancing.

Without further ado, let's get into the groove and hit play on thee ItsNotYouItsMe video hit parade with the stellar track "Freelance"!

Transgender Pioneer Jackie Shane Reflects On Her Re-Emergence & Grammy-Nominated Album

Here ye, here ye. Here's to an unsung pioneer and hero!

"For decades, Jackie Shane was a musical mystery: a riveting black transgender soul singer who packed nightclubs in Toronto in the 1960s, but then disappeared after 1971.

Some speculated she had died, but her legacy lived on among music historians and R&B collectors who paid big money for her vinyl records. But in 2010, the Canadian Broadcasting Company produced an audio documentary about her, awakening a wider interest in the pioneering singer. Today her face is painted on a massive 20-story musical mural in Toronto with other influential musicians like Muddy Waters.

In 2014, Douglas Mcgowan, an A&R scout for archival record label Numero Group, finally reached her via phone in Nashville, Tennessee, where she was born in 1940. After much effort, Mcgowan got her agree to work with them on a remarkable two-CD set of her live and studio recordings that was released in 2017 called Any Other Way, which has been nominated for best historical album at this year’s Grammy Awards.

Shane, now 78, has lived a very private life since she stopped performing. In fact, no one involved in album has yet to meet her in person as she only agrees to talk on the phone. But she realized after the CBC documentary that she could no longer hide. News outlets began calling and her photos started appearing in newspapers and magazines after the release of the album. RuPaul and Laverne Cox have tweeted stories about Shane.

“I had been discovered,” Shane told The Associated Press in a recent phone interview. “It wasn’t what I wanted, but I felt good about it. After such a long time, people still cared. And now those people who are just discovering me, it’s just overwhelming.”

Grammy-winning music journalist Rob Bowman spent dozens of hours on the phone with Shane interviewing her for the liner notes in the album. Her story, Bowman says, is so remarkable that even Hollywood couldn’t dream it up.

Born in the Jim Crow era and raised during the heyday of Nashville’s small but influential R&B scene, Shane was confident in herself and musically inclined since she was a child. She learned how to sing in Southern churches and gospel groups, but she learned about right and wrong from watching a con artist posing as a minister selling healing waters to the faithful.

From an early age, she knew who she was and never tried to hide it.

“I started dressing [as a female] when I was 5,” Shane said. “And they wondered how I could keep the high heels on with my feet so much smaller than the shoe. I would press forward and would, just like Mae West, throw myself from side to side. What I am simply saying is I could be no one else.”

By the time she was 13, she considered herself a woman in a man’s body and her mother unconditionally supported her.

“Even in school, I never had any problems,” Shane said. “People have accepted me.”

She played drums and became a regular session player for Nashville R&B and gospel record labels and went out on tour with artists like Jackie Wilson. She’s known Little Richard since she was a teenager and later in the ’60s met Jimi Hendrix, who spent time gigging on Nashville’s Jefferson Street.

To this day, Shane playfully scoffs at Little Richard’s antics and knows more than a few wild stories about him. “I grew up with Little Richard. Richard is crazy, don’t even go there,” Shane said with a laugh.

But soon the South’s Jim Crow laws became too harsh for her to live with.

“I can come into your home. I can clean your house. I can raise your children. Cook your food. Take care of you,” Shane said. “But I can’t sit beside you in a public place? Something is wrong here.”

One day in Nashville she had been playing with acclaimed soul singer Joe Tex when he encouraged her to leave the South and pursue her musical career elsewhere.

She began playing gigs in Boston, Montreal and eventually Toronto, which despite being a majority white city at the time still had a budding R&B musical scene, according to Bowman. She performed with Frank Motley, who was known for playing two trumpets at once.

“Jackie was a revelation,” Bowman said. “Quite quickly the black audience in Toronto embraced her. Within a couple of years, Jackie’s audiences were 50-50 white and black.”

Bowman said that in the early ’60s, the term transgender wasn’t widely known at all and being anything but straight was often feared by people. Most audiences perceived Shane as a gay male, Bowman said. In the pictures included in the album’s liner notes, her onstage outfits were often very feminine pantsuits and her face is adorned with cat eyes and dramatic eyebrows.

For Shane, her look onstage was as important as the music.

“I would travel with about 20 trunks,” Shane said. “Show business is glamour. When you walk out there, people should say, ‘Whoa! I like that!’ When I walk out onstage, I’m the show.”

She put out singles and a live album, covering songs like “Money (That’s What I Want),” ″You Are My Sunshine,” and “Any Other Way,” which was regionally popular in Boston and Toronto in 1963. Her live songs are populated with extended monologues in which Shane takes on the role of a preacher, sermonizing on her life, sexual politics and much more.

“I humble myself before my audience,” Shane explained. “I am going to sing to you and talk to you and do all the things I can so when you leave here, you’ll be back here again.”

She was beloved in Toronto and still considers it her home.

“You cannot choose where you are born, but you can choose where you call home,” Shane said. “And Toronto is my home.”

But her connection to her mother was so strong that ultimately it led Shane to leave show business in 1971. Her mother’s husband died and Shane didn’t want to leave her mother living alone. But she also felt a bit exhausted by the pace.

“I needed to step back from it,” Shane said. “Every night, two or three shows and concerts. I just felt I needed a break from it.”

Since the release of Any Other Way, Shane often gets the question about whether she would ever perform again now that so many more people are discovering her music.

“I don’t know,” Shane said. “Because it takes a lot out of you. I give all I can. You are really worn out when you walk off that stage.”

She wavered on an answer, saying she’s thinking about it. Her record’s nomination in the best historical album category only go to producers and engineers, not the artists, so Shane is not nominated herself. But Mcgowan, who is nominated as a producer, said he has invited her to come with him to the ceremony in Los Angeles on Feb. 10 as his guest.

“It’s like my grandmamma would say, ‘Good things come to those who wait,’” Shane said. “All of the sudden it’s like people are saying, ‘Thank you, Jackie, for being out there and speaking when no one else did.’ No matter whether I initiated it or not, and I did not, this was the way that fate wanted it to be.”" -

Rick Rubin: Showtime Preps ‘Shangri-La’ Documentary Series On Producer

In today's king of music news:

"An upcoming Showtime docuseries about legendary producer and label boss Rick Rubin will debut at the SXSW festival in March. The work-in-progress series, directed by Oscar-winning director Morgan Neville (20 Feet From Stardom) and tentatively titled SHANGRI-LA, is slated to debut on the cable network later this year, according to a release announcing the project.

Filmed at Rubin's legendary California studio of the same name, the docuseries "pulls back the veil on Rubin and his work with musicians across every genre. The series is an all-access pass into Rubin's creative process, giving viewers a taste of what it's like to be produced by the music world's most singular voice." Rubin's legendary career spans more than three decades, from the time he co-founded the pioneering rap label Def Jam Records in his his New York University dorm room in 1984, to his signature production work with everyone from LL Cool J, Run-DMC and JAY-Z to his time behind the boards for AC/DC, Slayer, Red Hot Chili Peppers, Neil Diamond, Tom Petty and the Heartbreakers, the Dixie Chicks, Adele, Weezer and many, many more.

With his long, flowing beard and buddha-like posture, Rubin, 55, has become a kind of musical guru, sought out for advice and his one-of-a-kind ear and bare-bones style, which has garnered eight Grammy Awards over his career. Neville is an Emmy- and Oscar-winning director whose 2013 exploration of backup singers, 20 Feet From Stardom, won an Academy Award for best documentary and Grammy for best music film; his more recent effort was the critically acclaimed 2018 Mr. Rogers documentary Won't You Be My Neighbor.

SHANGRI-LA is a Tremolo production, with Neville, Rubin, Jeff Malmberg, Danny Breen, Michael Goldberg, Eric Lynn, Isaac Heymann, Dianna Schmedeman and Jason Schrift listed as executive producers. Jeff Malmberg will direct two episodes of the series, whose release date has not yet been announced." -

Grim Fairytale: Turkish Property Recession Leaves Hundreds Of Storybook Cookie-Cutter Castles To Rot On The World's Most Bizarre Housing Development

Ooh, this is an enchantingly spooky and riveting tale carebears!

"In the Turkish countryside, hundreds of identical neo-gothic villas stand starkly in the hillside, a project like something from a Disney film-set, which has been left to rot in Turkey's recession.

The stunning black-capped white villas rise in a valley beneath hillsides covered in pines, like miniature Neuschwanstein Castles planted in the East.

The 732 villas in the Bolu region each cost around £400,000, but they stand empty after Turkey's economy took a dive last year.

The ambitious Burj Al Babas project was supposed to entice Arab buyers; rather than travel to Europe, they could have a Medieval castle in Turkey.

But the sprawling mass of unfinished dwellings stand as a totem of President Recep Tayyip Erdogan's failure to overcome his country's economic situation.

After years of growth the economy took an unexpected downturn, AFP reported, with many economists predicting a recession for the country in 2019.

The Sarot Group, whose project it was to build the mass of homes, as well as a modern shopping mall, have filed for bankruptcy.

Investors in the Gulf defaulted on payments due to dropping oil prices which has left the developers £78m short, after they managed to flog around half of the little castles.

The stunning development is emblematic of many less spectacular builds across Turkey which have been left to rot as the economy falters.

Turkey suffered a currency crisis in August during a diplomatic spat with the United States over the detention of an American pastor, later released, as well as concerns over domestic monetary policy.

Erdogan has railed against high interest rates, describing them as the 'mother and father of all evil'.

At one point during the US-Turkey row, the lira traded to lows around seven against the dollar.

But after the lira's dramatic fall in the summer, the bank made an aggressive rate hike in September of 625 basis points (6.25 percentage points) to 24 percent.

Despite legal battles over whether the Sarot Group can still sell the villas, their deputy chairman Mezher Yerdelen told AFP he expects it will be completed in October this year." -

The Number Ones: The Jackson 5’s “I’ll Be There”

According to one of our musical sources:

"The Jackson 5 – “I’ll Be There”

HIT #1: October 17, 1970

STAYED AT #1: 5 weeks

The day after the Jackson 5 released “I’ll Be There,” their fourth national single and fourth #1, Michael Jackson turned 12. Even if you’ve been living your entire life with “I’ll Be There,” with the myth of Michael Jackson’s whole career, that’s fucking staggering. “I’ll Be There” is an almost painfully adult song, a song about regret and longing and warmth and support and mixed-up feelings. And Jackson sings it with an almost absurd grace, a sense of empathy and tenderness and understanding. He was doing this at an age when I was eating entire cans of frosting that I’d stolen from my parents’ pantry. It just doesn’t make any sense.

Before “I’ll Be There,” the three Jackson 5 songs that had hit #1 were all variations on the same thing. They were springy, funky, uptempo jams that reimagined the giddiest bits from Sly & The Family Stone, as reworked by Motown’s assembly-line geniuses and interpreted by a group of adorable, frighteningly talented children. This was a formula, and it was a formula that worked better than anyone could’ve ever anticipated. On “I Want You Back,” “ABC,” and “The Love You Save,” Michael Jackson and his brothers practically vibrate with excitement. That’s not what happens on “I’ll Be There.” “I’ll Be There” is something else.

Those first three songs came from the Corporation, the team of four Motown songwriters and producers who basically existed only to pump out Jackson 5 hits. For “I’ll Be There,” Motown founder Berry Gordy went elsewhere. Gordy was one-fourth of the Corporation, and he’s also one of the four writers of “I’ll Be There.” The “I’ll Be There” team included Hal Davis, who produced the song and who headed up Motown’s LA branch for a while. Willie Hutch, the Memphis soul legend who wouldn’t release his first album for another three years, also co-wrote.

The song itself is as shatteringly lovely as any Motown ballad. It’s a pledge to support and comfort another person, no matter what happens. We don’t find out the whole story until the third verse: “If you should ever find someone new, I know he better be good to you / Cuz if he doesn’t, I’ll be there.” With that line, the whole song shifts. We learn that we’re hearing someone singing about an ex, promising that he’ll drop everything and come running whenever his former love gets lonely. That line transforms it from a song of friendship to one of heartbreak.

But what makes the song is the way Michael and his brother Jermaine sing it. Even on the intro, before we know that he’s singing to an ex, Michael sounds lost and crestfallen. He’s dealing with complicated things here: the feeling of warmth and fondness that can come with the end of a relationship, the way love and need can coexist with each other. He captures all of it. He delivers it like a rapturous blues keen, his helium quaver meshing gorgeously with Jermaine’s more conventionally churchy groan. Even on the end, when he’s hitting those fired-up ad-libs — “Ooh! Ooh! Ooh! Ooh!” — he still radiates loss. It’s beautiful and perfect and, in its own way, fucked up.

A song like “I’ll Be There” is central to the legend of Michael Jackson, both for being an amazing song and for what it represents. Here, this angelic child was singing these incredibly adult songs, doing them better than any adult ever could. Jackson was a global superstar as a small child, which means he never got to enjoy anything resembling childhood. Then, as a galactically famous adult, Jackson chased those childhood feelings that he never got to feel, remaking himself as an alien manchild. In that pursuit of what all his money couldn’t buy him, Michael became strange and creepy and tragic. He may have committed horrible crimes. He definitely died too young, overdosing on a drug he was taking to help himself sleep. All that transcendence came with a heavy price tag. And yet, after all that, after everything we saw, those songs are perfect. “I’ll Be There” is perfect.

GRADE: 10/10

BONUS BEATS: This column will eventually get to Mariah Carey’s 1992 MTV Unplugged version of “I’ll Be There,” which also hit #1. So instead, we’re going with a very different “I’ll Be There” cover. Here’s the version of “I’ll Be There” that snotty half-ironic pop-punk cover band Me First & The Gimme Gimmes released in 2003:

BONUS BONUS BEATS: Here’s former Girls frontman Christopher Owens doing a tender “I’ll Be There” cover in a 2014 college-radio session:

THE 10S: The Kinks’ gender-drunk love story “Lola” peaked at #9 behind “I’ll Be There.” It’s a 10." -

Fendi Fall/Winter 2019

"Fendi showed its Fall/Winter 2019 collection during Milan Fashion Week." -

Related Posts with Thumbnails
template by